Hindi
SRK Film Fest extended after fan frenzy
MUMBAI: You know a superstar still rules the screen when a festival meant to last two weeks starts behaving like a blockbuster refusing to leave theatres. That is exactly what happened when PVR INOX rolled out its Shah Rukh Khan Film Festival and fans turned it into a full scale celebration of cinema, nostalgia and collective joy.
Launched on 31 October, the festival brought back some of SRK’s most beloved titles including Om Shanti Om, Devdas, Dil Se, Main Hoon Na, Chennai Express, Jawan and Kabhi Haan Kabhi Na. What followed was a nationwide burst of excitement. Full houses, standing ovations and aisles packed with fans dancing, singing and recreating iconic scenes turned screenings into cultural events of their own.
The response was so overwhelming that PVR INOX extended the festival beyond 14 November. From cosplay tributes to viral reels, every show sparked fresh waves of fan celebration. Social media only amplified the frenzy as videos of cheering crowds and teary eyed fans spread across platforms and transformed each screening into national news.
The festival is part of PVR INOX’s continuing effort to bring landmark films back to the big screen and introduce classics to a new generation. So far, more than 3500 shows have been hosted across multiple cities, with titles like Om Shanti Om, Devdas, Dil Se, Main Hoon Na and Chennai Express now running longer due to public demand.
The lineup offered something for every mood. Chennai Express delivered its trademark humour and high energy action, while Devdas returned with its lavish tragedy. Dil Se drew viewers back into its haunting romance, Jawan showcased SRK at his action packed best, Kabhi Haan Kabhi Na reminded audiences of his most endearing early performance, and Main Hoon Na and Om Shanti Om brought back the full scale masala spectacle that only Hindi cinema can deliver.
Booking details and theatre listings are available on the official PVR INOX app and website, for anyone ready to join the celebration that clearly has no intention of slowing down.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
